Bizarre Love Triangle

The Story of Louis Riel, the Rebel Chief

[J. E. Collins]

Toronto: Rose, 1885

Instant books, those slapdash things designed to capitalize on death and doom, nearly always raise a sneer. Still, I can't help but admire the industry involved. To go from standing start to published volume in nineteen days, as did the team behind 9/11 8:48 AM: Documenting America's Greatest Tragedy, demonstrates such energy and determination. Of course, the 9/11 8:48 AM folks, whose book was spewed forth by POD publisher BookSurge, had the advantage of 21st-century technology. Not so this relic from the days of stereotypes, electrotypes and composing rooms.

Transplanted Newfoundlander J. E. Collins wrote The Story of Louis Riel, the Rebel Chief in the spring of 1885, while the North-West Rebellion was being fought. In fact, he laid down his pen sometime in those few days between the Battle of Batoche and Riel's surrender on 15 May. The finished product, 176 pages in total, was available for purchase well before the start of the Métis leader's trial in late July.

How did they do it?

Collins does his part through overwrought prose, evident the the first sentence: 'Along the banks of the Red River, over those fruitful plains brightened with wild flowers in summer, and swept with fierce storms in winter-time, is written the life story of Louis Riel.'

Yes, look to the banks of the Red River because you'll find little of the Métis leader's life in this book. Collins fabricates events, characters and dialogue, creating a world that will seem to students of Canadian history like something from an alternate universe. Key is the relationship between Riel and Thomas Scott, the Orangeman executed during the Red River Rebellion. Collins portrays this unstable, violent eristic as a likable fellow, a whistler, with 'a very merry twinkle in his eye'. In this account, the true nature of the conflict between the two men has less to do with the future Red River Colony than it does with a beautiful Métis maiden named Marie. Her preference for the goodnatured adventurer over the uncouth Riel seals Scott's fate.

While historians refer to The Story of Louis Riel, the Rebel Chief as fiction, it wasn't always accepted as such. Blame falls squarely on the author, who pads the book with footnotes, including Riel's 'Proclamation to the People of the North-West' and Bill of Rights, lengthy excerpts from Alexander Begg's The Creation of Manitoba (identified incorrectly as 'History of the North-West Rebellion') and a comprehensive list of the non-Métis who had lost their lives or had been wounded in the conflict.

The Rose Publishing Company provided further padding with a dozen or so etchings. Only a handful have any relevance to the text – in fact, Riel appears in only one. Though captioned 'REBELS [sic] ATTACKING MAJOR BOULTON'S SCOUTS', a reference to the shared fate of men under the command of Charles A. Boulton, the final image has nothing at all to do with the Rebellion and everything to do with trouble in the republic to the south.

Collins later wrote that The Story of Louis Riel, the Rebel Chief held 'no historic truth', and that he chose to leave his name off the book because he was 'unwilling to take responsibility for the literary slovenliness.' Yet, the author demonstrated no hesitation in appending his monicker to his next book, Annette, the Metis Spy: A Heroine of the N. W. Rebellion (1886) Here Collins not only repeats the plot device that has Riel and Scott as romantic rivals, but lifts whole sections from his previous work. Of this second kick at the can, Collins writes, 'I present some fiction in my story, and a large array of fact. I do not feel bound, however, to state which is the fact, and which is the fiction.'

Trivia: It is said that after Collins' death from drink at age 36, he maintained contact with his mentor Sir Charles G. D. Roberts through the aid of mediums.

Object (and a curious link): Issued in dark green cloth, sans dustjacket, the first edition was published by the Rose Publishing Company, a wing of Toronto printers and bookbinders Hunter-Rose and Company. After Riel's 16 November execution, Collins' work was reissued to include 'The Trial and Execution of Louis Riel', a 16-page Appendix. Though this second edition was also printed by Hunter-Rose, the book bears the imprint of J. S. Robertson. The new publisher not only knew Riel, but as a journalist had been imprisoned by the Métis leader during the Red River Rebellion. Labeled a 'dangerous character', Robertson was later forced to leave the settlement; not that this prevented him from reporting on the rebellion for Toronto's Daily Telegraph.

Access: Our larger public libraries have copies of one edition or another, invariably housed in their history sections. The Rose first is scarce; even Fair copies sell for over C$300. The Robertson edition, with Appendix, can often be found for much less than half the price. In 1970, it was reproduced – in cloth and paper – as part of the Coles Canadiana Collection. Both can be had for under C$30. Coles reissued the work again in 1979 – this time in paper only – with a historically inaccurate cover that offends the eye.

Queen Remembers Forgotten Book

Much ado this morning over Suzanna, a yellow Labrador retriever the Queen has given the RCMP. According to the Globe and Mail, Elizabeth II was inspired to name the dog after Muriel Denison's children's book Susannah of the Mounties. No explanation for the spelling discrepancy. I'm willing to wager a small sum that no one at Buckingham Palace thought to check.

That our monarch was familiar with the novel is not surprising, Muriel Denison (1885-1954) was hugely popular in her youth. Susannah of the Mounties – first published in 1936, the year of Elizabeth's tenth birthday – went through numerous editions, and was translated into French, Danish, Dutch, Finnish, Norwegian and Swedish. In 1939, Shirley Temple and Randolph Scott starred in a screen adaptation. As might be expected, the book spawned several sequels: Susannah of the Yukon (1937), Susannah at Boarding School (1938) and Susannah Rides Again (1940). Not one is currently in print. The most recent edition of any Denison title – predictably, Susannah of the Mounties – was published in 1976 by Collins.

The Queen is not alone in remembering Denison's writing fondly. Timothy Findley wrote that as a boy he 'feasted' on Denison, Ernest Thompson Seton and Charles G.D. Roberts. Can't say I shared the same taste, though I do recall watching Susannah of the Mounties on television one snowy Saturday afternoon. I leave you with this small appetizer:

News Stand Library Cover Cavalcade

As patrons flock to SoHo's Openhouse Gallery to take in cutting edge art commissioned by Harlequin Enterprises, thoughts turn to News Stand Library. The publisher's early rival, New Stand was much more willing to use sex and scandal to sell its wares. In nearly every way, their books were cheaper, nastier and inferior. It makes perfect sense that Harlequin published Brian Moore's first book, while Hugh Garner's second, the pseudonymous Waste No Tears, came from News Stand. And yet, the two competitors did share a few writers, including prolific pulpist Thomas P. Kelley.

The most valuable of all New Stand titles, Kelley's The Gorilla's Daughter – ' OFFSPRING of MAID and MONSTER' – cannot be had in any condition for under C$400. Its cover is more polished than most; a typical example of the publisher's look would be that found on the author's Jesse James: His Life and Death.

The type is ugly and in places difficult to read. Note that the author's name is misspelt, an error found time and again on News Stand covers. Here we have Bentz Plagemann , author of Each Night a Black Desire, identified as Bentz Plageman.

By my count, a dozen covers suffer similar mistakes. Niel H. Perrin is Neil H. Perrin, Murry Leinster is Murray Leinster and Ursula Parrot is good time gal Ursula Parrott. The cover of Alan Marston's Strange Desire reads 'Strange Desires by Alan Malston'.

Other blunders are more curious, and may reveal the true names behind pseudonyms. Just who wrote Private Performance – the Glen Watkins on the cover or the Eliot Brewster credited on the title page? Perhaps the most amusing error is found on the cover of Terry Lindsay's Queen of Tarts, which has the title as 'Quean of Tarts'.

In keeping with the previous post, here are my three all-time favourite News Stand covers. A couple appear to use work produced in a high school art class, but what I find most appealing are the pitch lines above each title. 'Never Will HELL Admit a Gayer Sinner than Laura Warren' reads the first – printed on the cover of a book written by... Laura Warren. An unforgiving editor, perhaps?

Related posts:

About Those Ugly NCL Covers

About Those Awful PaperJacks Covers

Harlequin's Romantic View of the Past

Harlequin's sixtieth anniversary celebrations continue this weekend with the opening of an exhibit devoted to its cover illustrations. Look not in Winnipeg, the city of its birth, or Toronto, home of parent corporation Torstar, the showing is being held at SoHo's Openhouse Gallery.

Since it was announced a few months back, I've been wondering how the publisher would handle its first twelve or so years. As noted previously, Harlequin hasn't been much interested in having attention drawn to its early history. What to do? The answer is found in the exhibition's title: The Heart of a Woman: Harlequin Cover Art 1949-2009. Little place here for Joe Barry's Fall Guy, never mind the vast majority of books from the publisher's first decade. I expect James Hadley Chase's Twelve Chinks and a Woman was particularly unwelcome.

I don't deny that there's interest to be had in viewing sixty years of romance novel cover art; witnessing the rise and fall of the nurse, the rise and fall of the mini-skirt, and the rise and shine of 'inspirational' romances targeted toward born-again Christians. That said, aside from Doctor in Bondage, I find each individual title so very lackluster. True, the artists are technically competent, but like Harlequin's writers they follow formulae. The same notes are struck repeatedly, the same themes are followed, evolution is slow, change is subtle and at times microscopic. The parade of covers is the visual equivalent of Kraftwerk's 'Trans-Europe Express' – except that the latter doesn't go on for six decades. And it's beautiful.

So, I join the publisher's sixtieth anniversary celebrations by presenting, in order, my three all-time favourite Harlequin covers.

Related posts:

Harlequin's Change of Heart

Covering Up the Past

Hard Lessons in Publishing

Not Only Chic, but Well-read

A photograph of Yves Thériault, André Langevin and Jean-Charles Harvey, stumbled upon early this week in the 28 November 1954 edition of Chic, Montreal's 'Journal de la Femme'. The weekly devoted a two-page spread, 'LES ECRIVANS CANADIENS FONT FACE LEUR CHER PUBLIC', to a 14 November gathering of 'romanciers et quelques romancières du Canada français' at the Windsor Hotel's Rose Room. Judging by the photographs, our romancières were severely outnumbered; not one features a female novelist. Here's Thériault again, looking a touch less shifty, standing between Robert Élie and Roger Viau:


Other photos capture Eugène Cloutier, Bertrand Vac, Guy Boulizon and Jean Bruchési. In short, a lot of men who appear happy to be surrounded by the stylish women of the Société d'étude et de conférences, including vice-president Miss Louise McNichols and president Mrs Redmond Roche, shown here with the dowdy Father Marie-Ceslas Forest.

Father Forest served as professor at the Dominican College of Ottawa and the Université de Montréal, was an early supporter of women's suffrage and wrote Le divorce (1920). His papers are held at the Université of Montréal. Much less can be said about Chic. Quebec's Bibliotèque et Archives nationales holds only eleven issues, the final being the edition in which these photographs appeared. Though the newspaper states otherwise, the BAN claims that it was published by Merlin, the company best known for Allô police.

Another Handful of Dust

Dust Over the City [Poussière sur la ville]

André Langevin

Toronto: McClelland & Stewart, 1955

Since the death of André Langevin in February, I've been reading so slowly, so very slowly, this translation of his second novel. I discovered Dust Over the City by chance when a student – and as with everything from those heady days, it was revisited with trepidation. I needn't have worried.

The opening image continues to haunt: a lone man stands motionless, bareheaded, coatless, late at night in the swirling snow, eyes fixed on the darkened house in which his adulterous wife of three months sleeps. Alain Dubois is a talented young doctor who attends to the pale, sickly, suffering citizens of Macklin (really Thetford Mines – those swirling flakes of snow mix with asbestos dust). Confident and efficacious in his professional life, he is staggered and debilitated by his wife's infidelity.

There's little story here; these are the thoughts of a tortured soul who struggles to comprehend. It's not the sort of novel suited for the screen, yet in 1968 Langevin adapted the work for director by Arthur Lamothe. The resulting film has disappeared from view. The only glimpse I've had comes from this brief clip that appeared mysteriously last year on YouTube.

The translation, credited to John Latrobe and Robert Gottlieb (Robert Gottlieb? The editor?), is a haphazard piece of work. I suspect it was tackled tag-team. Sure, as a whole it's more than competent, but it often becomes awkward and clumsy. An example: recklessness nearly leads to violent death – the couple's car is nearly hit by a train. The young wife's passion inflamed, she kisses Dubois savagely. Latrobe and Gottlieb have our hero confess:

Her ardor bowled me over. Gently I repulsed her. We drove on...

Though Dust Over the City was published in the United States by Putnam, English-language editions of Langevin's work never achieved much in the way of sales. He wrote four other novels – all acclaimed – but only one, Une Chain dans la park (1974), the first Canadian book to be nominated for the Prix Goncourt, appeared in English. In 1976, when Jack McClelland published the translation, Orphan Street, he wrote Hugh MacLennan, 'I am tempted to get really carried away on this one and really try to force-feed the market. We don't do that very often, but there is some justification for it because, as I am sure know, French-Canadian novels in translation almost invariably bomb in English.'

Sadly, Orphan Street was no exception.

Object and Access: Readily available in our larger public libraries. More good news: as number 113 in the old New Canadian Library, there are plenty of copies out there at under C$10. The first edition, a handsome hardcover with dust jacket by Rus Anderson, is usually found at C$20 or less. Copies of Poussière sur la ville are cheaper still – and, as might be expected, more common.

Hey Kids! Comix!

I imagine that there is no more cautionary a tale in comicdom than that of Toronto-born Joe Shuster. Things seemed to have got off to such a good start (though perhaps not quite as swell as is portrayed in the Historica Minute): kid cartoonist Joe and his writer friend Jerry Siegel create Superman and spend several years flogging the character before finding a home with Detective Comics Inc. Then they make the mistake of selling their creation for US$130. Never mind, for the next ten years the pair rake in big bucks working for DC, until they take their employer to court in an ill-fated effort to win back the rights.

Shuster's entry in The Canadian Encyclopedia tells us that he was fired and 'stopped drawing completely.' It's a sloppy error. Shuster and Siegel went on to create Funnyman, a 'two-fisted howlarious scrapper' that soon appeared in dustbins everywhere. A few years later, having finally parted ways with Siegel, Shuster was reduced to providing fetish art for cheap publications like Hollywood Detective, Rod Rule and, above all, Nights of Horror.

Last month, the multi-talented Craig Yoe published Secret Identity, an entertaining and informative look at Shuster's later artistic endeavours. The most interesting aspect of our countryman's work is the inclusion of characters that resemble members of what DC calls 'the Superman family'. Yoe's cover image features a scantily-clad Lois Lane look-alike whipping a man who resembles Superman. And is this cub reporter Jimmy Olsen putting his hand up Lois Lane's skirt? In a library? For shame.

Nights of Horror was eventually banned, its destruction called for by no less a body than the Supreme Court of the United States. Blame for this censorship rests squarely on the shoulders of the Thrill Killers, a Brooklyn-based group of Jewish neo-Nazis. I kid you not, and direct those interested to Yoe's 23 April interview on NPR's Fresh Air.